The Karmic Secret to Decoding ‘Life of a Show Girl’ Starts with Decoding ‘Shake It Off | #12

Summary

Decoding Taylor Swift: A Storytelling Revolution

Episode #12: The Karmic Secret to Decoding ‘Life of a Show Girl’ Starts with Decoding ‘Shake It Off’
Hosts: Joe Romm and Toni Romm
Date: September 16, 2025

---

Brief Overview

In this episode, Joe and Toni Romm use Taylor Swift’s “Shake It Off”—a song produced by Max Martin and Shellback—as a springboard to analyze Swift’s storytelling devices, especially her creative use of irony and karma. As Swift’s new album “Life of a Showgirl” nears release, the Romms explore how “Shake It Off,” often written off as a simple pop bop, actually contains deep layers of irony and cultural commentary. They share personal stories, literary references, and practical storytelling tips along the way, keeping their tone sharp, humorous, and candid.

---

Key Discussion Points & Insights

1. Why “Shake It Off”? Album Previews and Production Team ([00:20–03:10])

• “Shake It Off” is chosen as a lens to speculate about Swift’s forthcoming album “Life of a Showgirl” because of its producers:
  • Max Martin and Shellback also helm the new album.
  • Production style and thematic tendencies are expected to resurface.
  • Memorable Moment: Banter over confusion between Shellback and “Drake” the rapper vs. "Drake" the male duck.

2. The Nature of “Shake It Off”: Pop Bop or Something Deeper? ([03:10–06:30])

• Acknowledges widespread view of the song as pure pop (“bop”), with heavy repetition and less plot compared to Swift’s more narrative works.
• Emphasizes intention to show the deeper mechanics beneath the surface.

3. Teaching Irony with Taylor Swift ([04:48, 05:13–07:02])

• Joe shares a family anecdote: using the lyrics of “Shake It Off” to teach young Toni about irony.
• Key Quote ([06:06]):
  Toni: “That was really good. I think I should leave. You can do the rest of this podcast. That was wise as hell.”
• Explains different kinds of irony:
  • Verbal irony: Saying one thing, meaning another.
  • Dramatic irony: Audience knows more than the character.
  • Irony of fate/karma: The actual outcome is the just, not the expected.

4. Karma, Poetic Justice, and Swift’s Irony ([06:44–10:12])

• Swift’s songs often use “irony of fate”—aka karma (“what goes around comes around”).
• Example: “I Knew You Were Trouble”—the narrative is foreshadowed by the title and opening lines, illustrating how Swift embeds poetic justice in her writing.
• Joe posits that “Shake It Off” has a “double irony”—the singer insists on shaking off criticism, while her persona is notoriously unshakeable and vengeful.

5. The Role of the Music Video ([10:12–13:13])

• The visual narrative of “Shake It Off” is key: Swift fails at several dance styles, underlining the line “I’m lightning on my feet” as deeply ironic.
  • Key Insight ([22:11]):
    Joe: "This line is a very doubly ironic line. If you watch the music video...she isn’t lightning on her feet. Right."
• Visual storytelling amplifies the theme of “faking it,” connecting to the song’s chorus about "fakers," and to Swift’s public persona.

6. Pop, Repetition, and Artistry ([19:00–20:55])

• Dissects repetitive songwriting in pop—Swift repeats “shake” 48 times and “I” 51 times.
  • Toni defends repetition as “efficient” rather than lazy.
• Comparison to other classic pop songs ("Take On Me," "Tequila") that use minimal, repeated lyrics to great effect.

7. Irony in “Shake It Off”: Lyrics vs. Reality ([22:58–24:25])

• The Romms argue that, in reality, Swift is the opposite of her song’s message—she’s famous for not shaking things off and memorializing slights in her songs.
  • Key Quote ([23:27]):
    Joe: "That’s what makes this song extremely ironic, because she’s written this song, Shake it off, and she is not a person who shakes things off...she then made [All Too Well] harsher, added five full minutes of really harsh stuff about the same guy, Jake."

8. Revenge Songs and Personal Agency ([24:49–25:34])

• Swift is part of a lineage of artists using song as revenge (e.g., “You’re So Vain”).
• “[Karma] helps those who help karma”—Swift isn’t passive; she makes karma happen with her songwriting.
  • Memorable: “She helps herself a little bit. She intervenes by, I’m gonna write a song about this guy. I’m not gonna wait for fate to simply punish him.”

9. The Curious Bridge: Story Twist in a Pop Song ([26:24–29:43])

• The bridge of “Shake It Off” injects a little narrative:
  • Swift’s “ex man” brings a new girlfriend, and she moves on to hitting on a “fella over there with the hella good hair.”
• Bridge features clever lyrical dynamics (“getting down and out” vs. “getting down to this sick beat”).
• Toni and Joe speculate on “who” the ex is (possibly John Mayer or Harry Styles).
• Trademark trivia: Swift trademarked the phrase “this sick beat.”

10. Meta Commentary: Storytelling Tools & Generational Banter ([29:43–end])

• Joe frequently reframes Swift’s songwriting as lessons for communicators, marketers, and writers—looking for “actionable things.”
• Toni drops rapid-fire, sharp asides; jokes about “cracking wise” stemming from forced Taylor Swift exposure growing up.
• Classic podcast rapport: running jokes, British vs. American pronunciation of “niche,” and a side tangent on DC DMV’s driver’s test.
• Closing Insights:
  • Even “basic” pop songs by Swift are layered and intentionally crafted.
  • The pairing of storytelling craft (folklore) with pop sensibility (Martin/Shellback) will shape the new album.

---

Memorable Quotes (with Timestamps)

• On Irony:
  Joe ([06:06]): “There’s a clever saying that irony is when you mean what you say, but you don’t say what you mean.”

• On Taylor’s Reputation:
  Toni ([23:02]): “She’s awkward and she’s—well, and then that translates to she’s not very good at shaking things off. She’s kind of one of the most vindictive songwriters out there.”

• On Repetition in Pop:
  Joe ([19:44]): “She repeats the word shake 48 times in this song. She repeats the word I 51 times.”

• On “Karma helps those who help karma”:
  Joe ([25:05]): “Karma helps those who help karma…she doesn’t just let karma happen. She intervenes.”

• Trademark Trivia:
  Joe ([31:09]): “Taylor trademarked the phrase this sick beat. That seems wild. But she did because it’s on Wikipedia.”

• On Generational Wisdom:
  Toni ([34:01]): “In your bank account when you become rich, you can tell me how to pronounce niche.”
  Joe ([34:08]): “Really? That’s what it comes down to?”
  Toni ([34:10]): “Basically. That’s how our society works.”

---

Timestamps for Important Segments

• [00:20] — Introduction to “Shake It Off” and new album themes
• [04:55] — Teaching children irony with Swift’s lyrics
• [10:12] — Why the “Shake It Off” music video is essential
• [19:44] — Repetition statistics (“shake” and “I” count)
• [22:58] — Double irony: song message vs. Taylor’s persona
• [26:24] — The narrative bridge and “this sick beat”
• [31:09] — Trademark anecdote on “this sick beat”
• [34:01] — Banter on generational divides and pronunciation
• [37:09] — Key takeaway: even “bops” have hidden depth
• [38:53] — Why “shaking it off” is emotionally hard
• [40:25] — Preview: New album’s likely irony and motif

---

Conclusion & Takeaways

• Surface simplicity can hide narrative complexity: Even “simple” Swift songs like “Shake It Off” are sophisticated in structure and intention—especially in their use of irony, self-parody, and cultural commentary.
• Swift’s use of irony and karma is both personal and universal: “Shake It Off” works as a pop anthem, but its truer reflection may be an ironic commentary on her own inability to “let things go.”
• Anticipation for “Life of a Showgirl”: With Max Martin and Shellback involved, expect more tracks that blend infectious pop with deft narrative irony.
• Storytelling Tool: Use popular lyrics to teach complex ideas; repetition, irony, and intentional persona construction can make content viral and relatable.

---

For Next Time

Tune in for a folklore-focused episode, as the Romms plan to dissect “Cardigan” as part of their ongoing toolkit for communicators and fans.

---

Homework

Toni: “Your homework is to, you know, take care of yourself, man. Get some sleep.” ([43:07])
Joe: “And tell your friends to follow this show.”

---

For both Swifties and storytellers, this episode is a meta-pop masterclass—equal parts literary analysis and family comedy hour.

Transcript

[A]

Hi, I'm Joe Rome and I'm his daughter Toni.

[B]

Welcome to Decoding Taylor Swift, where you'll learn the storytelling tools Swift uses that make her a modern day Shakespeare, but.

[A]

Can make you a better communicator so you can drive your mission and build your tribe.

[B]

Alrighty.

[A]

We're going to talk about about Shake it off today. Shellback and Max Martin produced this song.

[B]

We're going to talk about Shake it off today in the lead up to the October 3rd launch of the new album the Life of a Showgirl. We want to talk about songs that might give us some indication of the kind of songs that are gonna be on this album. Cause this album is of course produced.

[A]

By Max Martin and Shellback, but not Drake.

[B]

No, shell. Drake is a bird Shell.

[A]

Drake is a bird. Shellback is the man. Great songwriter, great songwriter, interesting aesthetic.

[B]

If you look him up, it's yes, kind of.

[A]

I'm not ragging on whatever the artist has to do.

[B]

But hey, man, the man, he looks.

[A]

Like garageband rocker who worked for like Paramore before.

[B]

Well, they can write hit songs, that is for sure. Why don't we start with a little bit of shake it off?

[A]

Yeah, start with a little bit of shake it off. We'll just shake it off, man.

[B]

We will shake it off with a little bit. Start here.

[A]

You could say we're gonna play, play, play the song. That was really good, guys.

[B]

Man, I'm gonna leave.

[A]

You can do the rest of the.

[B]

Podcast you are on. Fuego. Normally it takes you a little time to warm up.

[A]

No, man, I' Today I woke up and I said to myself, it's time to rise and grind and Amen, brother.

[B]

We're not even going to mention the 20 minute nap that you took right before this.

[A]

They say that that resets your brain waves. Going on a 20 minute walk or taking a 20 to 30 minute nap makes your brain waves, I don't know, do whatever the hell. I'm not studying science, I'm studying well, I'm studying physics.

[B]

I'm not studying normally. You would think it's the boomer who's taken the nap, not the Gen Z. Yeah, whatever.

[A]

You guys have normal housing prices. You have nothing to nap about. You have literally no stress in your life. You're gonna die before climate change gets bad.

[B]

I think it's already pretty bad. All right, shake it off. Here we go.

[A]

I say I'm too late Got nothing in my brain that's what people say that's what people say I go on too many dates But I can't make them stay at least that's what people say. That's what people say.

[B]

I can't turn you off he can't.

[A]

Stop, won't stop I can't stop Won't.

[B]

Stop turning that song off.

[A]

So this song Shellback and Max Martin produced this. So what we're really examining is what the new album might look like.

[B]

Right.

[A]

That's why we chose Shake it off also because it's a cool song.

[B]

It's. It's one of her bangers. One of her.

[A]

One of the. One of the songs that is the herald of most of her, you know, basic pop accusations.

[B]

Yeah.

[A]

But we're going to talk about today why it's maybe not so basic.

[B]

No, there's a lot more going on. This song is not really a story. No, this is a bop. This is an incredibly repetitious song. That is the mark of your bop.

[A]

Yeah.

[B]

And. But it's near and dear to my heart. It came out in 2014.

[A]

2014. Yep.

[B]

When she was 25.

[A]

When she was 25. When you were. Don't tell me. 70. And I was 7.

[B]

Yes. One of those is correct. This is one truth and a lie, as they say.

[A]

Yeah, he's being nice. He was 71.

[B]

But this was the first song that. Whose lyrics I used to teach you one of the memory trainings. 54.

[A]

You were 54, right?

[B]

I was in 2014.

[A]

54.

[B]

This is what we sent you through high school and you're going to college soon and hopefully you can do some elementary math.

[A]

I'll start doing math when I actually have to take a physics class.

[B]

This was the first song whose lyric. You were 7 or 8. This song came out when you were 7. And I think a few months later, we were in a car and I was listening to lyrics and I thought, oh, I could teach my 7 or 8 year old daughter the concept of irony.

[A]

Only you would think that could have taken me to a ballpark or something.

[B]

Sorry. Well, we were listening, listened to the song, and I figured you were mature enough to understand the concept of irony.

[A]

Sure.

[B]

And so. And this is. This is. I'm trying to give my. The. Our producer always says, give your audience actionable things.

[A]

Right.

[B]

So if you want to teach somebody, someone younger a complicated concept like irony, take some lyrics that are their favorite lyrics. Right. And so I asked you, I said, you know, the song begins, I stay out too late, Got nothing in my brain. That's what people say. And I asked you, I said, does Taylor Swift believe that she has nothing in her brain.

[A]

And I'm pretty sure I said, like, no.

[B]

Right? You said no. And I said, but then why does she sing? Got nothing in my brain because she's a baddie. Well, she's being ironic. Right? She's saying that's what they say.

[A]

Yeah, sorry. That's what I said when I was seven. I know that. It's irony.

[B]

Yeah. And that's irony. And this is the simplest form of irony. That's when people use words that on the surface mean one thing, but they intend them to mean the exact opposite thing.

[A]

Right. Well, the definition of irony is when the, you know, audience knows something that the character doesn't or something like that.

[B]

Well, some. There's Mary. There's some different definitions of it. Sometimes they say, yeah, that's what our.

[A]

English teacher taught us. But I was like, that's like, not fully. Right.

[B]

Well, there's a clever saying that irony is when you mean what you say, but you don't say what you mean.

[A]

That was really good. I think I should leave. You can do the rest of this podcast. That was wise as hell.

[B]

I will just let. Let.

[A]

Just let that sit for a second in my mind.

[B]

There are. Taylor's songs are known for irony. We've. We've discussed a great many of her songs and. And her songs are not partly ironic. They're usually deeply ironic.

[A]

Yeah.

[B]

And this song, which on the surface seems very simple.

[A]

Yeah.

[B]

And just a bop.

[A]

It's just her saying, eff you to the haters. Right, Right.

[B]

Well, but as we'll see, this is also a very deeply ironic song. Now, there's another kind of irony that she is equally famous for.

[A]

Right.

[B]

And that is the irony of. It's called Irony of fate.

[A]

Right.

[B]

Which is poetic justice, commonly known these days as karma. Yes, Right. What goes around comes around. And so in Irony of Fate, people don't get the fate that they think they desire and deserve.

[A]

Right. They get the faith that is justifiable.

[B]

They get the faith that they. That they actually deserve, not the faith that they think they do. And a classic instance of that we discussed in the very first episode.

[A]

And Karma. Yeah. Antihero.

[B]

Well, we. We talked about. I knew you were trouble.

[A]

Oh, yeah, that. Right, Duh.

[B]

Right.

[A]

So, you know, check that part out. I'm never stupid. I knew exactly what you were talking about.

[B]

Right. I knew you were trouble. Which is also worth mentioning. Cause it's also Max Martin.

[A]

Yeah.

[B]

Right. This is a song. It starts, first of all, I knew you were trouble. That's obvious. Foreshadow One of the points we made about the poetic justice, irony, or karma is that karma is what goes around comes around. Right, Right. So if you're presenting. And this is basic storytelling, you need foreshadow.

[A]

Yes.

[B]

You have to foreshadow.

[A]

You need foreshadow to foreshadow the ending, or else it's not justice.

[B]

So that's what goes around is the foreshadow. What comes around is the ironic twist. Right. So in this particular song, there's a lot of. I mean, in I knew you were trouble. Right? That's kind of obvious foreshadowing. I knew you were trouble when you walked in. Right. So there's no big secret that this is gonna end badly. And in fact, the song opens once upon a time, a few mistakes ago.

[A]

Right. But we're not talking about that.

[B]

We're not talking about that. We're talking about the line where she says, early on, I guess you didn't care.

[A]

And I guess I liked that.

[B]

Right.

[A]

I thought we were doing Shake It Off.

[B]

We are. I just wanted to complete the full amount of irony. Cause there's two different ironies.

[A]

Yeah.

[B]

I just wanted to finish this irony, and then we'll get back to the other irony.

[A]

Let me know if I need to play some. It's always sunny while you're doing that.

[B]

No, you do not.

[A]

Okay.

[B]

I just want to say that the point of that is that she says in the beginning, right. That I guess you didn't care and I guess you liked that.

[A]

Right?

[B]

So we don't know how much irony or how much foreshadow that is.

[A]

Right. I get that.

[B]

Until she says that, I knew that you never loved me or her or anyone.

[A]

Or anything.

[B]

Or anything.

[A]

Yeah.

[B]

Right. So that was the killer ending. But the point is, when you now go back to the beginning and say, wait a minute, how can she be shocked that he never loved her when at the very beginning, he didn't care about her? And she liked that. Right. So if you like the boy who doesn't care about you, you can't be shocked at the end. Right? So that's the karma. Right? She gets bitten by this. And so that is how you write a story. That's how you write. That's how she writes a lot of her songs. We saw it with All Too well, and we saw that with Getaway Car. Right? So in Shake It Off, Shake it off doesn't have so much of that kind of foreshadow. We can ask ourselves at the end whether there is some sort of Ironic twist by the end of it. But sometimes, as we will see, there's a double irony.

[A]

Right. Well, the entire song. Well, we'll discuss the music video too, but you have to watch kind of the music video to really get.

[B]

This is one of those songs where you definitely have to watch the music video too. And I am assuming, by the way, she hasn't been dropping a lot of music videos, but I am sure she's certainly gonna drop at least one music video for the new album. She's gonna drop the one with Sabrina Carpenter.

[A]

Do you think she's gonna do a single?

[B]

That is a very good question. I think that. And by the way, I forgot to.

[A]

Mention, is she gonna make the single a secret 13th track?

[B]

No, she said there won't be any secrets. She said there won't be any secrets. I mean, you know.

[A]

Well, that sounds like somebody with a secret.

[B]

Could be. That would be a very, very deep secret. I would just say this is episode 12 and there are 12 songs in this album. So that's some numerology for those of you out there, including what's his face. Kelsey, Travis Kelce's brother who did.

[A]

Was it Jason? Kelsey.

[B]

Jason, Kelsey. Yes. New heights podcast yet? Didn't really know.

[A]

We're reaching some new heights on this podcast right now. Snap, Snap, Snap, snap.

[B]

Maybe we should rename this We're 100 percenters.

[A]

We're on 100% right now.

[B]

So maybe we should be named this Newer Heights.

[A]

Newer Heights. Hell yeah, man.

[B]

There could be same old height.

[A]

They're same old fucking heights. Seriously lame ass heights.

[B]

Exactly.

[A]

We're the newest heights.

[B]

Newer Heights.

[A]

Newer Heights.

[B]

Exactly.

[A]

Amen, brother.

[B]

And then if we have to, we can eventually rebrand it Newest heights.

[A]

Newest Heights. Well, we have to make sure that we do that before New heights goes newest. Cause last night, you know, I was like, you're crazy. And my friend, well, I called my friend crazy and she said, you're crazier. But then I countered back and I said, you're craziest. And she said, oh, snap.

[B]

Right?

[A]

So we have to make sure in.

[B]

That cycle you have to go first.

[A]

You have to go first.

[B]

You have to go first.

[A]

We are. We wait. But they've already gone first. They're already New heights. So we've already lost.

[B]

No, that's why we're gonna have to do both of them. And by the way, this is.

[A]

We're just gonna have to rebrand them as lame ass heights.

[B]

This is another actionable thing for our listene. If you want to pull this trick. And someone else goes first. You have to do both the ER and the S immediately.

[A]

Immediately.

[B]

So they can't top you.

[A]

Shout at them. You're craziest. You're crazier at the same time.

[B]

Exactly. Do not let them top you.

[A]

Don't let them speak.

[B]

This is it. This is. This.

[A]

Prove to them that you're not crazy. They're crazy.

[B]

Exactly.

[A]

Amen.

[B]

This is planning ahead.

[A]

This is planning ahead. And that's not crazy. Man, if that were crazy, then Taylor Swift would be insane.

[B]

Well, also, you know, as we'll see, Transition, this whole song.

[A]

Yeah. Is insane.

[B]

Is insane. The music video is a very. I wouldn't say the music video is bonkers. I mean.

[A]

No, the music video seems very regular until you look under the surface.

[B]

Right. But this is not a bonkers music video. The way that Blank Space, which is the same album. Right. And also Martin McFarlane, also, you know.

[A]

Call Me maybe with the music video for that, is kind of crazy. Well, I loved that music video when I was a child. I was like, that's, like the perfect video. I was, like, shocked at the end when you turned out to be gay. That was like my version of, like, the Inception, like, twist.

[B]

Well, there's a lot of bonkers music videos. The music video for me, Espresso, is pretty bonkers, I think. Let's just go into the lyrics here. Sometimes we talk more about irony, but then you're just gonna play your little music. I did want to mention that the Danish philosopher Kir Kierkegaard, since you're a philosophy person.

[A]

Oh, my God, I love Kierkegaard.

[B]

I'm reading him right now, famously said that no authentic human life.

[A]

It is a truth.

[B]

Well, no, no, no, no, no. Well, a truth. It's a truth universally acknowledged that no authentic human life can be lived without irony.

[A]

Oh, I thought you were going to do that. Women need to have.

[B]

No, no, no, no.

[A]

Look, you know, Krie Kart said that. You can. You can quote him on that.

[B]

I mean, all of American culture is built around irony. And many of the greatest TV series are built around.

[A]

And one of the best Alanais Morissette songs are based on irony.

[B]

Although, ironically, people have criticized that song.

[A]

Because it's not actually ironic. It rains on your wedding day, bitch. It rains every day, everywhere in the world, at least once.

[B]

No, people criticize Alanis Morissette for her song because it, in fact, doesn't feature a lot of irony. Now, she claimed later that she was being ironic about that fact.

[A]

You can say that about anything.

[B]

You can.

[A]

That's crazy.

[B]

You can. Well, that's the thing about irony. And.

[A]

Yeah. It's kind of like retroactively, like, whenever you say something offensive, being like, I'm just joking. I'm joking. I'm joking.

[B]

Well, that's gaslighting.

[A]

That's gaslighting right now.

[B]

Gaslighting is not irony.

[A]

Sure, but you can.

[B]

Gaslighting is not irony.

[A]

You can say something's ironic to you. Yes.

[B]

No, no, look. Hey, I will tell you. My father used to say that all the time. He would make a joke at someone's expense, and then they'd get upset, just a little traumatized, and he would say, well, I make fun of everybody. All right, dad, that's fine. It doesn't excuse. Yes. It just makes you universally a dick. Yeah.

[A]

I mean, no offense.

[B]

My mother's cooking, which was really not. My mother was not the greatest cook in the world. She was. She was a writer. She was a CEO. I mean, she was.

[A]

She didn't. She didn't even go to college. She was like a Jewish Barbie, man. She, like, did everything.

[B]

She did. She rocked it. She was a Rosie the Riveter.

[A]

And he was the one who lost your mom's savings, right? Well, that's not.

[B]

No, no, that was her father.

[A]

Oh. Yeah.

[B]

Her father had gambled away the savings, died of a heart attack in 1941. She was the oldest, 17, graduated high school, couldn't go to college, had to go into the. They wanted women in the workforce. She had to go into the workforce.

[A]

Yeah, man.

[B]

So that's. That's her.

[A]

And then she married a bum who made fun of everyone.

[B]

He was not a bum. He wasn't a bum, but he did make fun of people. Yes.

[A]

That's okay. I've never met your dad. I'm sure wherever he is, he's chilling out.

[B]

He may be chilling out. Let's go through the song. So, yeah, the opening lines are, you're not a bum.

[A]

By the way, thank you for not being a bum.

[B]

I could have been a contender. I could have been somebody instead of a bum, which is what I am.

[A]

What the hell?

[B]

That's on the Waterfront. That's Marlon Brando. That's the famous line from Marlon Brandof.

[A]

He does. He, like. He's like. He doesn't, like, take you, like, throwing baseballs and stuff. He randomly, like, whips out quotes from movies. He's like, abed from Community. You should get tested for that, man.

[B]

I like Abed from Community.

[A]

Yeah. Everybody does.

[B]

He's great. And Then he reappeared.

[A]

I mean, I love him. He's one of my favorite characters. But he has something that I think you should be tested for. Brilliance, A beautiful personality.

[B]

Ah, there we go.

[A]

Yeah.

[B]

So anyway, let's. Let's get into just how ironic this song is. So we've been through the opening part that that's what people say, you know? And then it's like, you know, I go on too many dates, but I can't make him stay. At least that's what people say. All right, so this is very important because I will say maybe there's a little foreshadow going on with that line. I go on too many dates, but I can't make him stay. So let's zoom on to the. What is this? This is the pre chorus. Yeah, but I keep cruising. Can't stop, won't.

[A]

Excuse me, can you take that again?

[B]

No. Sweet. But this is kind of.

[A]

Imagine that if you're trying to move, you can't stop and you won't stop. And you're trying to convince people that if they're moving and they want to stop, they can't and they won't. Because it's like they got music saying it's gonna be all right. Now try that. Try that again.

[B]

Ow. Don't poke me. I just got a. I just got a shot anyway.

[A]

All right, so take that again like you're a millennial and it's 2015.

[B]

But I keep cruising. Can't stop, won't stop moving. It's like I got this music in my mind saying it's gonna be all right.

[A]

Oh, my God.

[B]

There you go.

[A]

Hey, high five. You did that.

[B]

Okay, we're also going to come back to this a little. Also a little bit of interesting foreshadow. Let's just get to the chorus.

[A]

I don't think we have foreshadowing that Taylor Swift has a mental health condition where she can't stop hearing music saying it's going to be all right in her head.

[B]

Well, let's go to the chorus, the famous chorus. I don't think we have to play it. Everyone's heard it.

[A]

Yeah, because the player's gonna play, play, play, play, play. And the haters, well, they're gonna hate, hate, hate, hate, hate. And, baby, I'm just gonna shake, shake, shake, shake, shake. I shake it off, I shake it off. You know, heartbreakers are gonna break, break, break, break, break. And you know the fakers, of course they're gonna fake, fake, fake, fake, fake. But, baby, I'm just gonna shake Shake, shake, shake, shake, shake it off.

[B]

So.

[A]

And that, that's a fact.

[B]

This is a bop. Lots of repetition. Right. So songs where there aren't really a big storyline, they're gonna fill up the time by repeating the same fricking words a million times.

[A]

Yeah.

[B]

And this is.

[A]

And that doesn't mean they're lazy. It just means that they're efficient.

[B]

Well, you have to fill up your three minutes. You have to write your three minute song. So there are songs out there that, that have very few total lyrics. Cause they just repeat them endlessly. And this is one of those songs and is one of that's coming up.

[A]

Like Take on Me. Like, what the hell? Like they're just literally. They shuffle the same words and it's one of the greatest songs of all time and everybody loves it. And then people rag on Taylor Swift. He said take on me, take me on.

[B]

Yeah.

[A]

Like that's the entire course. And then he made the, the peak just be him going and doing a high note like.

[B]

Well, what about.

[A]

It's not an achievement.

[B]

What about the song Tequila?

[A]

Oh my God, don't come to me with Tequila. That's a fantastic song.

[B]

It's a fantastic song. Not many lyrics, you know, it doesn't.

[A]

But that's because I think there's an art to it. When I think of that song, I kind of think of a fine, let's say Tequila. And it's, it's seasoned, it doesn't need much. It just is really good, you know. All right, well, it's a good song.

[B]

So there's a lot of repetition in this song. There's five each one of those, by the way. Play each five and. And then the total repetition gets bonkers at the very end where she just repeats it over and over and over again.

[A]

Shake it up.

[B]

And in fact, she repeats the word I. I did my famous trick of counting.

[A]

Jesus Christ.

[B]

Without actually counting. This is a counting without counting trick. Just do the search and replace.

[A]

Yeah. The only thing he's tricking is psychologists.

[B]

40. She repeats the word shake 48 times in this song. She repeats the word I 51 times. In fact, I don't think there's very many.

[A]

What's the and to butt ratio? Do you do that?

[B]

I don't think she has a lot of ands or she has some buts. I didn't calculate it. But she does say but I keep cruising. That's like maybe the only time she does.

[A]

And that's what they don't see. Yeah. And then.

[B]

Right. And so then Anyway, she says, I.

[A]

Never missed, and that's what they don't know. Well, we could talk. I mean, she starts off with a N. It's like a stream of consciousness kind of thing.

[B]

Yeah.

[A]

Starting sentences with ands. I like starting sentences with ands. My teachers don't like it. They're like, you can't start with a conjunction. Shut the hell up.

[B]

The thing. When I blog freaking, can I start a lot of my sentences with Anne?

[A]

Right.

[B]

But in. When you go to college, you know what? I frown on that.

[A]

Well, but none of my past English teachers have ever won a Grammy, and that's. That's a fact. And so when they start winning album of the year four consecutive times, then they can talk to me about not starting sentences with an all right, well, I'm.

[B]

I'm down with that. You can try that at least once.

[A]

Yeah, man. Yeah, man.

[B]

So after the chorus, and I will. After the chorus, she goes, I never miss a beat. I'm lightning on my feet. And that's what they don't see. That's what they don't see. Mm. Now, this line is a very doubly ironic line.

[A]

Yeah.

[B]

If you watch the music video.

[A]

Yeah, right.

[B]

If you're watching the music video.

[A]

So the music video's a bunch of styles of dance. It's like a bunch of modes of dance that she's doing well, that she's attempting, and she's doing very badly.

[B]

She's showing dancers.

[A]

She's kind of.

[B]

That video is ostracizing the dancer. Dancers. There's like, breakdancer. There's a guy who does his fingers stuff.

[A]

Yeah. There's like Spice Girls, hip hop stuff.

[B]

He. Right. And he. And there's twerking and she fails at. Oh, there's ballet. Yeah, There's a whole ballet thing.

[A]

Yeah. There's like a black style.

[B]

Each one of those styles she fails at. Right. She embarrassingly can't do it. She doesn't. I mean, it's not embarrassing to her. I mean, she seems a little embarrassed, but she's mostly. Ah, this is what I do. Right. She's showing. Hey, you can shake it off, even if you're not a great dancer. When she says, I never miss a beat, I'm lightning on my feet. And that's what they don't see.

[A]

Right.

[B]

She isn't lightning on her feet. Right.

[A]

She's not.

[B]

She's not.

[A]

Yeah. She's awkward and she's. Well, and then that translates to she's not very good at shaking things off. She's Kind of one of the most vindictive songwriters out there. She writes songs about all of her ex boyfriends, and I'm sure they're like, oh, please don't write a song about me. And she's like, whatever, bitch. She does it anyway.

[B]

Well, that's. I think that's the point.

[A]

Like, hashtag Rake, Fake Jake. Hashtag snakejake.

[B]

Yes. And Rat guy.

[A]

Yeah, Rat Matt.

[B]

Rat Mat.

[A]

Yeah, Rat Matt, Snake, Jake and Rat.

[B]

But that's what make this song extremely ironic, because she's written this song, Shake it off, and she is not a person who shakes things off. She is a person who remembers things so much that nine years after she wrote All Too well, in which she remembered something all too well, she then made it harsher, Added five full minutes of really harsh stuff about the same guy, Jake. Rake. Jake.

[A]

Rake. Jake. Snake Jake.

[B]

10 years earlier.

[A]

Yeah, Seriously.

[B]

So. And I'm not saying that everybody has to shake it off, but if you write a song called Shake it off, then you'd be thinking, well, and I think, by the way, I think she's trying to amp herself up into being a person who could shake it off. But she doesn't shake it off. No, she doesn't shake it off because she a baddie, and she doesn't need.

[A]

To shake it off. To be honest, I think that part of the song is, you know, like, shaking it off is kind of overrated.

[B]

You know, I think that the point to make is there's a line beneath which this is too trivial. Right, Right, right. And then there's a line above that in which it's like, fuck you.

[A]

I'm putting you on blast and writing a song about you.

[B]

I will put it another way. They say the Lord helps those who help themselves. That's a saying. I will say karma helps those who help karma. Right. Sometimes she doesn't just let karma happen.

[A]

Right.

[B]

She intervenes.

[A]

She helps herself a little bit.

[B]

She intervenes by, I'm gonna write a song about this guy. I'm not gonna wait for fate to simply punish him. Right. I'm gonna exert my own power. And, you know, she has that power as a songwriter. And as we've said before, if Mr. Rake Jake doesn't like it, he can write his own number one.

[A]

Well, Mr. Rake Jake is also extremely famous and rich, so I think he's probably fine.

[B]

She's written the song, become the most successful singer songwriter of the day.

[A]

She has.

[B]

And with the most successful tour in history that grossed $2 billion. But I just want to get back to the using songs for revenge idea. Because she's hardly the first, Right? I mean, you're so vain. Probably think this song is about you. There's lots of. I mean, as we've Talked about, Paul McCarten did it all the time.

[A]

Yeah.

[B]

Again, with silly love songs. With coming out with think the world's, you know, had enough of silly love songs. So. But what is interesting here. And I want to zoom through, you know, she goes back, but I keep cruising. Can't stop, won't stop grooving. Then she does the player's gonna play thing again. Then she gets to the. The, I guess, pre bridge and then the bridge where things generally get blown up.

[A]

Yeah.

[B]

And this is where I think the song gets very interesting and a little weird. This is the only little story that she inserts here, Right? So she says, hey, hey, hey. Just think while you've been getting down and out about the liars and the dirty, dirty cheats of the world, you could have been getting down to this sick beat.

[A]

You weren't gonna keep going.

[B]

All right.

[A]

Claps and everything.

[B]

My ex man brought his new girlfriend. She's like, oh, my God. But I'm just gonna shake into the fella over there with the hella good.

[A]

You're getting above the beat. Can you keep the beat? I'm giving you the beat for a reason.

[B]

Well, then you can sing it if you want.

[A]

No, I'm doing the beat.

[B]

Well, like Taylor, I just make it up as I go along.

[A]

Fella over there. Okay.

[B]

And the fella over there with the hella good hair. Won't you come on over, baby? We can shake it, shake, shake. Yeah. And I can't do the high note. Maybe you could. Can you do the high note?

[A]

I'm not gonna dignify that with a response.

[B]

Fine. So this is another wacky bridge. It's a very. I just have to say how bizarre the lyrics are here.

[A]

Yeah.

[B]

So while you've been getting.

[A]

So she's saying he doesn't understand fellas who have good hair. Cause he's bald, first of all, is what he wants to say.

[B]

I understand fellas with good hair, but not having hair can be good hair. There are a lot of sexy bald men. I'm sorry.

[A]

Name one.

[B]

Name one. Oh, I think Michael Jordan. Right? He shaved his head, didn't he? Yeah.

[A]

That's a fair point.

[B]

Okay.

[A]

But did Michael B. Jordan.

[B]

Probably for a role.

[A]

Yeah, maybe.

[B]

There you go.

[A]

I love Michael B. Jordan.

[B]

All right, List.

[A]

Do you think they ever got confused? Like, do you think?

[B]

I'm sure that's why you use the B.

[A]

Well, I know, but, like, do you think, like, when he was starting out, he kind of had, like, a discussion with his agent, like, whether he wanted to be like Samuel L. Jackson or, like, be like, you know, Michael B. Jordan? Or like. Or just Michael. Like, he wanted to sing the whole full name, which I'm assuming is Michael Bertrand Jordan or something? Like.

[B]

Well, look, I think he was making a clear statement. Right. Because anyone would have told him, just go by Mike. Right, right.

[A]

Mike Jordan.

[B]

That would be straightforward. Right. Why don't you just do that? Right. You don't have to disown your last name or anything. But he's like, no, I'm Michael. I'm doing Michael. I'm going to put in the B. Yeah. Also, there's a little bit of Johnny B. Goode there.

[A]

I don't think there is.

[B]

Maybe not.

[A]

Maybe not.

[B]

But it's a music podcast, so.

[A]

Music podcast.

[B]

But I just want to get back to this line. Hey, hey, just think, while you've been getting down and out about the liars and the dirty, dirty cheats of the world.

[A]

Yeah.

[B]

Right.

[A]

You could have been getting down to this sick beat.

[B]

All right? But the point is, everyone who's listening is getting down to this sickness.

[A]

I know, right?

[B]

So it's kind of bizarre that she says, do you.

[A]

Well, that's why she's saying it, you know, Like.

[B]

I know, but I.

[A]

Because maybe they're listening to it, but they're not getting down to it. Dad, do you know what the act of getting down to it means?

[B]

I do. And by the way, it's a very nice figure of speech where she switches from getting down and out about the liars and the dirty, dirty cheeks.

[A]

Oh, that's true.

[B]

Where getting down means one thing and then she switches another.

[A]

Taylorism. Yeah.

[B]

Yes. Right. And that. And again, as we've talked about, that is a figure of speech. Lincoln does it in Gettysburg Address, where he uses the word dedicated a few different ways.

[A]

Right, right, right.

[B]

That's a classic thing. It makes people think a little more.

[A]

And people ask me, antonio, why are you so good at cracking wise? Why are all of your, you know, why are all of your statements, like, good? Like, when I went on that date with that guy, he was like, you are, like, really good at making statements. And I was like, thank you. But, you know, he meant that.

[B]

Really said that to you.

[A]

He genuinely. And I. I'm not even joking. He said that to me. He said, you're really Good at making statements. And he meant that I was very good at making witticisms, I'm sure. And honestly.

[B]

Let's hope so.

[A]

Let' and just been like, man, she just said, wow.

[B]

Statements all the fricking times. Shut up, babe.

[A]

Jeffrey Epstein, bad dude. And he was like, that's a great statement. You know, Isis, I don't know if I support him, but the reason I think I'm so good at it is honestly because I've forced to listen to so many Taylor Swift songs by my father.

[B]

And not because you've been forced to listen to your father make a lot of statements.

[A]

Well, my dad does make a lot of statements, but I do. My statements, I think might be a little bit better. They might be a little bit cleaner cut, you know, I should hope so. Capitalism is exploited.

[B]

I had to unlearn.

[A]

She didn't say that.

[B]

I had to unlearn a whole bunch of stuff.

[A]

I know you did.

[B]

You are not. You were just.

[A]

Yeah, I'm smooth sailing.

[B]

You are smooth sailing. Totally unlearned.

[A]

And when people tried to teach me to not do them, I just said, fuck you.

[B]

I hope you didn't say that to them.

[A]

Yeah, I said that to my English teacher.

[B]

By the way, I wanted to point out, I happen to see this on Wikipedia because I do my research. Taylor trademarked the phrase this sick beat that seems wild. It is wild. But she did because it's on Wikipedia.

[A]

The phrase or a sick beat in general?

[B]

No, no, just the phrase this sick beat.

[A]

What?

[B]

Strange. What can I tell you, huh? But let's. So anyway, so that's a very weird pre. Bridge. Yeah, not a bridge is. So my ex man brought his new girlfriend. She's like, oh my God, can you do this? We did the voice once. Now we're just looking at the lyrics. Okay? But the point is. So her ex boyfriend comes in with his new girlfriend, who.

[A]

There is a little bit of rumors out that that's what's his face and Katy Perry.

[B]

It could be John Mayer and Katy Perry going through.

[A]

Why do people keep going out with John Mayer?

[B]

I don't know.

[A]

I feel like, like, hasn't, like, hasn't it been like, you know, kind of obvious? Like, haven't we established that he's maybe not a great guy?

[B]

It was clear when she wrote Dear John.

[A]

She wrote Dear John.

[B]

She went out at 19 with John Mayer when her friends. When she was 19. Right.

[A]

I'm almost 15.

[B]

People knew enough about John Mayer.

[A]

That's like me right now going out with John Mayer.

[B]

I mean, Just read all you women out there who are thinking about going out with John Mayer, just don't do it. Read the Playboy interview of him talking about his relationship with women. You will not want to go out with him. Yeah, okay, but the point is. So this is the bridge. So ex man comes in with new girlfriend. She's. And the new girlfriend's like, oh, my God. And then I'm just gonna shake. And now immediately she says to the fellow over there with a hell of good hair, why don't you come over, baby?

[A]

We can shake, shake, shake.

[B]

But the point is, for people who don't know that, people say, I go on too many dates.

[A]

Yeah.

[B]

And she is immediately. The only verse in this song when her ex boyfriend comes in is, she's immediately hitting on another guy, which, as she should, man. I'm just saying. She's saying she's just making fun of herself.

[A]

She is.

[B]

Right. And by the way, she uses this word when.

[A]

She could be Harry Styles. Harry Styles.

[B]

It could be Harry Styles.

[A]

He has famously good hair.

[B]

He does have famously good hair. And people have said that.

[A]

People have said that. I say that.

[B]

The other key phrase say that all the time is, but I keep cruisin'. Can't stop. Right? Well, cruisin has a second meaning. You cruise for guys or you cruise for girls.

[A]

I don't know that they've used that since Greece in 1962.

[B]

Greece was not 1962.

[A]

It basically was.

[B]

It really, really wasn't. No. Cruisin, I think, is still used today as something that you do.

[A]

Never heard that in my life. And I'm so sorry that you're 18. I've had to break this.

[B]

You still think that the only way to pronounce niche is niche?

[A]

It's actually because it is.

[B]

So it isn't. You know how I know it isn't? Because there's a famous saying that I'm sure many in the audience have heard that the riches are in the niches. So some people out there thought that the word niche and how much is.

[A]

In your bank account when you become rich, you can tell me how to pronounce niche.

[B]

Really? That's what it comes down to?

[A]

That's what it comes down to.

[B]

Money determines who's right and who's wrong.

[A]

Basically. That's how our society works.

[B]

Man, you're so sick cynical so early.

[A]

Yeah, whatever.

[B]

Feel that's a total failure on my part.

[A]

I don't think so. I think it's a succession on your part.

[B]

Wow.

[A]

The world kind of sucks, right? Now, but Taylor Swift's pretty cool guys.

[B]

He is.

[A]

She writes some pretty cool songs. Michael B. Jordan and Harry Styles, also two pretty cool dudes.

[B]

I'm just saying that this song.

[A]

Oh, you. You're pretty cool dudes. And our audio engineers.

[B]

The audio engineer is a cool dude when he isn't keeping.

[A]

You know, when he isn't, like, you.

[B]

Know, in 18 hours.

[A]

Right. Refusing us food and water, taking my cats, stretching them out.

[B]

People don't know that. This is the fifth take of the entire episode.

[A]

Is it the fifth?

[B]

At least.

[A]

Oh, my God. I forgot.

[B]

When we came here, we lose track of time. We've been here for six or seven hours.

[A]

It's true. Did you guys know that I just got into the University of Chicago? Isn't that crazy? Like, I just got in. It's February, right? Is it?

[B]

Yeah, exactly. I lose track of time myself. 20, 24. I'm just saying that this song, which seemingly is a very simple song that the haters are gonna hate and you just have to shake it off, is a lot more going on in this song. Right.

[A]

Oh, but on the real, I actually just got my driver's license.

[B]

She did.

[A]

I did. Just like Olivia Rodrigo.

[B]

She did. Failed the first time, which sings in D.C. everybody does.

[A]

When I was at the driver's. You want to know the real crime in D.C. is how they fail people on their driver's license test the first time they take it. I was there at the DMV with two other teenage girls who are my age, and they literally told me that they failed them. Like, literally. There was a. Both of them, their first time. And then there was a boy who walked out who also failed, and that was also his first time. And I just want to say that there's something deeper going on here. And I know that they only charge you, like, $10 to take the test, but, like, if you want, you can just up the price. Right. If it's about money, which it might be.

[B]

I don't know. I think it could be trying to set a message.

[A]

What message?

[B]

Don't think you're hot shit.

[A]

The hell? Why would the dmv, Maybe the dmv.

[B]

I mean, I know this is kind of a shock to you, but. But teenagers are the worst drivers. They just false. They think. No. No, it is not. The statistics on this are scary. That's why the Drinking age is 21 in most places. That is the reason why.

[A]

Well, anyway, we were talking about Adele.

[B]

We were talking about Rolling in the Deep.

[A]

Yeah.

[B]

So I just want to say that this is a great song, obviously, but in anticipation of the album coming out, which we know are going to be bangers, because it's got Martin and Sheldrake.

[A]

But we're going to talk about some elements specific to Shell Bach.

[B]

You didn't catch me. Say that one wrong. We're providing a useful service because a lot of people are going to have to be using his name after October 3rd when all these bangers show up.

[A]

Shell Drake. He's not a Drake. He's not a Mallard. He is a Bok.

[B]

Right. And all of our listeners, our point is this.

[A]

Well, first of all, our point is this. You've already heard, if you're a producer, don't stay away from Shell. Just stay away from it.

[B]

No, no, no. The point is stay away from Shell. Even the songs that look like they're just pop bangers or bops, there's more to them. There's a lot going on. And you can be certain when you take three of the greatest songwriters alive practicing today together, and one of them, and Martin says that he liked folklore and he wants storytelling.

[A]

Right? So that's the other bit of this, is we think that on this new album, and we're probably gonna do a song from Folklore next. Next podcast. I think we will, because I love Folklore. It's my favorite album. It's my best friend's favorite album. Well, it's one of my favorite albums that in 1989. But I think that that will give us the full scope of what this podcast or what this new album may be.

[B]

The new album is certainly gonna have some folklore elements because Max Martin. And by the way, last, I've been calling him Carl Sandberg Martin, but it's actually Carl Martin Sandberg, but it's actually his act. His name Martin is. He actually dropped his actual last name. Look, anybody who drops their last name and presumably keeps their mother's maiden name, I assume is making a statement.

[A]

What if Martin is just like. I don't know, they just like the name Martin. Like, they were like, wow, Martin Short and Chris Martin. They're two comedic legends. I don't, I don't think just name my child Martin.

[B]

I don't think people choose a last name for people other than their own.

[A]

I don't know, man.

[B]

But. Oh, and by the way, there's one other thing that goes on in this song, because at the end, she just. She literally just shake it off. I shake it off I, I, I, I shake it off I shake it off I, I, I shake it off I shake it off I, I, I shake it off, I shake it off, shake it off.

[A]

Keep going.

[B]

I shake it off, shake it off I shake it off I, I, I shake it off, I shake it off I, I, I shake it off I shake it off, shake it off I shake it off I, I, I shake it off, I shake it off. You've got to, you've got to.

[A]

I already said that.

[B]

I, I, I shake it off, I shake it off I, I shake it off, I shake it up. So the only thing she has snuck in here is you've got to, you've got to. And all I'm saying you've got to, is why would she do that again?

[A]

You've got it, you know?

[B]

Right. But she, this is, this is her trying to pump herself up and her and her listeners up. Because actually, shaking off is hard.

[A]

It's hard. It's not easy, but you've got to.

[B]

You got to, you got to, you got to. Right, 41, 48 shakes, 51 I's. That's a lot of I's. I will maintain that there may not be another song ever written. Certainly not number one song that has the word I. 51 times.

[A]

I listen to yummy sometimes.

[B]

Yummy. Does he repeat himself?

[A]

Yeah, you got that. Yummy, that yummy. Do you know what yummy means? Means that she makes good food.

[B]

Is that what it means?

[A]

Just like my mom. She makes good food.

[B]

All right, you go with that. My daughter. Let's go with that.

[A]

That's what somebody told me.

[B]

Somebody is always right. Yeah, somebody is always right. That is what I've learned. But unfortunately, somebody is always wrong, too.

[A]

Think so?

[B]

Yeah. The hard part in life is figuring out the difference. I think we are done with this. But, yes, expect the unexpected. There's gonna be a lot of irony in these 12 songs.

[A]

A lot of irony.

[B]

I mean, obviously, if the first song is, what about Ophelia?

[A]

Yeah, Right.

[B]

That's gonna be ironic. And the life of the showgirl. I mean, they're all gonna be ironic. Everything, when you write a song, shake it off. And the entire point of the song really is that you yourself don't shake things off. Then your titles can be very ironic.

[A]

Right, sure. Like. Yeah.

[B]

And like wood.

[A]

Maybe it's about sand.

[B]

No, I don't think so.

[A]

Yeah, that would be pretty ironic. That's a good example of irony, actually. Could be about water. Do you think it's about water?

[B]

I think it's probably about wood. It's very hard for. It's. It.

[A]

Could you Think it would be, like, about. Like.

[B]

She just let. Let the record show that she pointed at her crotch and not my crotch.

[A]

You've never seen it? Well, maybe you have.

[B]

When I was born, asked. I know this is kind of a shock to you, but. But fathers do bathe their daughters and change diapers.

[A]

I could have grown one during puberty. How much do you really know about female puberty? How much do any of you really know?

[B]

Can I just say.

[A]

Do you know that girls poop out of their penises? And that's a true fact.

[B]

Wow. I don't think health education has done well by you.

[A]

How many of you guys. How many of you guys knew that our education system has failed the men in this room?

[B]

The one thing I. The most important thing I'd learned from this whole like children. The book about raising kids was that for your daughter, you wipe front to back and not back to front. And I mentioned that to some dad like, three years ago, and he said, really?

[A]

That's horrible.

[B]

Yes, it is.

[A]

His daughter probably had yeast infections.

[B]

All right, I think we're just trying to. Once again, we're trying to do a bit that Joe Budden can't do.

[A]

He couldn't ever do this. He couldn't ever do this.

[B]

Alrighty, here. I think that we have so many mic drops here that they're all broken and they're gonna need to be fixed. So next time, possibly we might do.

[A]

No, we're gonna do Folklore.

[B]

We're gonna Cardigan. Yeah, we can do Cardigan and talk about the trilogy.

[A]

And I felt like I was an old cardigan. Offer someone's bed.

[B]

I don't think that Taylor's, like.

[A]

Favorite. And I'm crying right now.

[B]

Okay.

[A]

I'm sobbing.

[B]

Good night, ladies and gentlemen. Or good morning or good afternoon, depending on when you listen to.

[A]

Or good evening.

[B]

There you go.

[A]

And your homework. What's their homework?

[B]

I wouldn't make them write this song out because it would just be.

[A]

I, I, I.

[B]

It would be a lot of eyes.

[A]

Yeah. I don't know. Your homework is to, you know, take care of yourself, man. Get some sleep.

[B]

Oh, well, that we forgot. The homework is Tell your friends to follow this show. By the way, we are we Briefly.

[A]

Briefly.

[B]

We passed Joe Budden.

[A]

I think it was the period discussion.

[B]

I did. I did Briefly were number one on Apple Music list. But we're back to number two after Joe Budden's. We passed 2,000 followers on Spotify, though, so we're very happy about that.

[A]

Yeah.

[B]

So, guys, keep it on. Tell your friends. Tell your friends that if they want to understand life of a showgirl, they gotta listen to these next few songs. Good night.

[A]

Good night.

[B]

Thank you.

[A]

Yeah.